1 For a long time I have been following with admiration
Kozakiewicz's research on Bellotto's work published up to now only
in part in catalogues of various exhibitions and in several articles
(see. S. Kozakiewicz, "La Mostra del Bellotto", Arte
Veneta,
1964, p. 240-247;
Bernardo Bellotto gennant Canaletto,
[Wien,
1965]), and I do not intend to enter into details of the field
covered by my colleague. However, in the spirit of friendly
collaboration, having mentioned the matter to him, I find that it
would not be a bad idea to submit my views for a more thorough
verification by scholars interested in the problems of
eighteenth-century Venice.

13 This was also confirmed by the fact that the two canvases had
been classified "after 1728" (date determined by the onion
shape of the San Giorgio bell-tower) in the catalogue, op. cit., p.
17.

14 The Piazzetta Looking South by Canaletto at Windsor must have
been painted before 1728 because the campanile had not been changed.
See Constable, Canaletto (catalogue, plate 55).

15 When W. G. Constable heard of my conclusions he wrote to me.
"I entirely agree that these seem to make a sequence or set...Your idea that they may be by Bellotto seems to me very
reasonable...".

16 The many exchanges of ideas which I have had with Dr Stolow, the
Director of the National Conservation and Research Laboratory of the
National Gallery of Canada, and the Chief Curator, Dr Hubbard, have
been most valuable for my research. The excellent photos of details
reproduced here are due to Dr Hubbard.

17 Constable, Canaletto (Oxford, 1962), plate 55.

18 Since Zuccarelli painted the figures in the Parma works it can be
confirmed that they were painted about 1742. A curious link can be
found between these verified works and the four in question since
the couched lion in Bellotto's Roman Capriccio in Parma is a
reversal of the lion in Ottawa's Arsenal.

19 Fritzsche, Bernardo Bellotto, pp. 107-108.

20 At the exhibition of I Vedutisti Veneziani del Settecento (18th
century Venetian Landscape Painters), held in Venice during the
summer of 1967, the proposition regarding Bellotto's Venetian period
was fully accepted. The Ottawa painting Piazzetta Looking North is
exhibited as No. 85 and attributed to Bellotto (P. Zampetti, I Vedutisti Veneziani del Settecento [Venezia,
1967], pp.186-188).